Simon Reynolds’ Rip It Up and Start Again: Postpunk 1978–1984 is a critically acclaimed chronicle that explores the experimental explosion of music following punk's initial decline. The book argues that while punk revitalized rock, the post-punk movement fulfilled its revolutionary potential by embracing "forward-looking" styles like funk, dub, and electronica. Reynolds provides an exhaustive, "forensic" look at legendary artists like Joy Division, Talking Heads, and Public Image Ltd, weaving together their stories with the social and political turbulence of the time. Though some readers find the dense, intellectual prose "heavy going," it is widely regarded by reviewers from The Guardian and The New York Times as the definitive historical account of this highly creative era.
Simon Reynolds’ Rip It Up and Start Again: Postpunk 1978–1984 is a landmark piece of music journalism that exhaustively chronicles the creative explosion following the initial punk wave. While punk is often credited with "destroying" old rock conventions, Reynolds argues that the post-punk era was where the real revolution occurred, as bands moved beyond the "back-to-basics" garage rock sound to experiment with funk, dub, electronica, and avant-garde theory. The book is structured into thematic and regional chapters, tracing the evolution from the abrasive sounds of Public Image Ltd to the sophisticated "New Pop" of the early 1980s.
The narrative is widely praised for its depth and "forensic" detail, offering a "big-picture" view of a fragmented scene that includes everything from the dark, industrial echoes of Joy Division to the art-funk of Talking Heads. Critics from The New York Times and The Guardian have lauded Reynolds for connecting these disparate sounds to the social and political turbulence of the era, though some note an "anglocentric" focus that occasionally overlooks significant American hardcore or alternative acts.
A unique companion to the book is the compilation album of the same name, which features 20 tracks curated by Reynolds to serve as an "audio guide" to the period. The tracklist includes essential cuts from artists like The Fall ("Fiery Jack"), Devo ("Praying Hands"), and Siouxsie and the Banshees ("Slowdive"), as well as more obscure gems from The Raincoats and Young Marble Giants. This curated selection reinforces the book's thesis by showcasing the genre's sheer sonic diversity, ranging from scratchy post-punk to synth-pop.
Ultimately, both the book and the album are considered essential for anyone looking to understand the bridge between 1970s rebellion and 1980s pop culture. While the prose can be "heavy going" due to its intellectual rigor, Reynolds' palpable enthusiasm and primary-source research—including extensive interviews with figures like Keith Levene and Jah Wobble—make it an "inspired and inspiring" account. It serves as a definitive historical document of a time when the goal was not just to break the rules, but to rewrite them entirely.
Ripped to MP3
1. The Fall - Fiery Jack
2. Devo - Praying Hands
3. Pulsallama - The Devil Lives In My Husband's Body
4. Cabaret Voltaire - Sluggin' For Jesus Part 1
5. Josef K - Sense Of Guilt
6. Scritti Politti - P.A.s
7. The Slits - Spend, Spend, Spend
8. Fatal Microbes - Violence Grows
9. Robert Wyatt - Grass
10. Siouxsie and the Banshees - Slowdive
11. The Raincoats - Only Loved At Night
12. Young Marble Giants - Choci Loni
13. The Human League - Dancevision
14. Thomas Leer - Tight As A Drum
15. Associates - White Car In Germany
16. The B-52s - Give Me Back My Man
17. John Cooper Clarke - Beasley Street
18. The Specials - Friday Night, Saturday Morning
19. Heaven 17 - I'm Your Money
20. The Blue Orchids - Dumb Magician
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